When schools shut down in the U.S. in the spring of 2020, parents, teachers, and students alike were thrown into uncharted territory. Now, more than a year later, families are finding themselves navigating murky waters once again as the Delta variants surges and schools and local governments grapple with mitigation measures.
Throughout all of this, millions of families have taken the plunge into homeschooling. For some, that meant helping their kids through virtual learning through the public school system, but others decided to ditch the system altogether.
In fact, a Census Bureau report found that the number of U.S. households that reported homeschooling kids doubled from March 2020 to September 2020, from 5.4% to 11.1%. The jump for Black households was even more significant, from 3.3% to 16.1%. With schools starting up this fall in the midst of rising COVID infections, those numbers could grow even higher.
While some parents are choosing to homeschool because they feel like it’s the safest choice, some parents tried homeschooling during the pandemic and found that they and their kids enjoyed it far more than they expected to.
“Homeschooling was something I always thought my kids would benefit from for many reasons, but I could never wrap my head around how to actually do it and the fear that I would fail as their teacher,” Jennifer G., who homeschooled last year and decided to continue this year says. “Covid gave me the push I needed to put my fears aside and dive in.”
“We struggled at times last year and it took a while to find a good routine,” she adds. “But overall, we learned so much about ourselves, about how we function together as a family, and how to make learning fun. We went on fun educational field trips as often as possible, cooked lots of new recipes together to learn about the world, experienced adventures through reading, & grew together as a family. We are looking forward to homeschooling again and having the flexibility to learn what we want how we want. I never imagined learning could be so colorful!”
Jenny S. says that she’s wanted to homeschool for years but her husband and oldest child were never on board. However, due to COVID, she began homeschooling her third and sixth graders last year.
“My 3rd grader THRIVED,” she says. “When the world shut down we noticed some behaviors that led to us finally figuring out what caused the sensory processing disorder we knew she had since she was an infant. So, we knew she’d be home again this year. She’s so ahead of her peers, I didn’t want boredom to add to the problems she already faced in a classroom. She has also learned that schools white-wash history, and boldly proclaims that she was lied to when asked why she likes homeschool better. She never wants to go back. She’s been able to truly dive into her interests, and has learned snd retained more than she ever has before.”
Her oldest has chosen to homeschool for seventh grade for consistency. “While he misses his friends, he knows this year will be better, socialization-wise,” she says. “He is also ahead of most of his peers, and loves that he can move at his own pace. We love the flexibility, fewer hours, and the outdoor time it has allowed us. Without evening homework, I still get hours to get my work done (I mostly work from home), have more time for prepping dinner, and just hanging out as a family.”
Many parents I spoke to were surprised to find that their children excelled learning from home.
Judi S. spent last school year at home with her 10-year-old grandson while his parents worked, helping him with virtual learning through the school. She says has mild ADHD and he was able to be more kinetic at home, which helped him focus better. But she also acknowledged that that wasn’t the case for all kids.
“Some kids did well, some struggled, and some simply checked out,” she said. “I wish that families still had the option of virtual learning as well as homeschooling and in-person because children have such diverse learning styles. And I dread the return of all those soul-sucking hours of homework. I think a lot of parents have discovered how arbitrary and mostly unnecessary homework actually is. We always suspected and now we know.”
Homeschooling isn’t a magic bullet, of course. Not all parents can make it work, and not all parents should even try to make it work. Having come from a teaching background and homeschooled my own kids for almost two decades, I can attest to the fact that it’s not for everyone. And for many families, it’s simply not an option.
At the same time, the pandemic has provided a prime opportunity to give it a shot for those who want to. Much has been made about the mental health impact of school closures, as well as the kids who will fall through the cracks because of needs that get met at school. Those problems are real and those concerns are legitimate—however, a lot of kids really do fare better academically, emotionally, and socially learning outside of a traditional classroom setting.
The fears and reservations that kept many families from trying homeschooling have been trumped by the fears of viral spread and reservations about kids’ safety in the classroom. Though the circumstances that got us to this point are undesirable, there’s never been a more opportune time to experiment with different modes and models of learning. Schooling has been turned topsy turvy anyway, so why not try something entirely new if you have the desire and the ability?
The educational landscape is shifting quickly and there are more resources for learning than ever before. While broad questions about equity and accessibility loom large across that landscape, parents shouldn’t be afraid to explore the various options that are out there. The opportunity to reexamine what learning looks like for individual kids has been laid at our feet with the pandemic blowing up school as we know it. Might as well take advantage of it while we have the chance.
Legendary hip-hop trio De La Soul — Posdnuos, Trugoy and Maseo — have been locked in a battle with Tommy Boy Music for years to regain control of their masters. Now, according to Talib Kweli, it’s mission accomplished for The Plugs.
“After years of being taken advantage by the recording industry in the worst possible ways, De La Soul now owns all the rights to their masters and is in full control of the amazing music they have created,” Kweli wrote in an Instagram post over the weekend, writing that Maseo had confirmed the news. “Let’s salute Plugs 1, 2 and 3 for sticking to their guns and showing us that we can all beat the system if we come together as a community. Let’s hear it for black ownership of black art! Congratulations fellas.”
The news may not come as a huge surprise, since just two months ago, Reservoir Media acquired the Tommy Boy for close to $100 million. They also gained ownership of Tommy Boy’s catalog, which includes six De La Soul albums: 3 Feet High And Rising (1989), De La Soul Is Dead (1991), and Buhloone Mindstate (1993), Stakes Is High (1996), Art Official Intelligence: Mosaic Thump (2000), and AOI: Bionix (2001). A spokesperson for Reservoir also confirmed that the new label ownership would mean that De La Soul’s catalog would at last come to streaming platforms. “We have already reached out to De La Soul and will work together to the bring the catalog and the music back to the fans,” a Reservoir rep told Variety.
As Uproxx’s Aaron Williams pointed out recently, the only two De La albums currently available to stream are 2004’s The Grind Date, released under Sanctuary Records, and their crowdfunded 2016 album And The Anonymous Nobody.
Scrubs creator Bill Lawrence struck gold again with Ted Lasso, somehow turning a commercial for a TV network’s sports coverage into one of the most heartwarming shows on streaming services. And now Apple seems primed to give Lawrence a crack at success with another interesting concept, this one based on a bestselling novel.
According to the Hollywood Reporter, Lawrence’s next project will be turning the novel Bad Monkey into a TV series, with Vince Vaughn in the lead role.
Written by Lawrence, Bad Monkey revolves around Andrew Yancy (Vaughn), a one-time detective who was demoted to restaurant inspector in Southern Florida. A severed arm found by a tourist out fishing pulls Yancy into the world of greed and corruption that decimates the land and environment in Florida and the Bahamas. And yes, there’s a monkey.
THR reported that Vaughn will also serve as executive producer for the series, which will mark his first on-screen TV work since the second season of True Detective. The 10-episode crime drama is based on the 2013 bestseller by Carl Hiaasen, a book that is loaded with the kind of darkly comic moments that should play to both Lawrence and Vaughn’s strengths. This is all very intriguing.
Also intriguing: the report notes that Lawrence’s overall deal with Apple is being “re-negotiated” after the success Lasso has seen, which is currently rolling out its second season in weekly episodes. If things go well with Bad Monkey, well, we’re gonna need a bigger money truck for the writer and showrunner.
When last week’s Billboard charts were released, the publication noted that Dua Lipa’sDaBaby-featuring remix of “Levitating” saw a decrease in radio plays following the rapper’s recent controversy. The publication noted, “On July 25, 71% of its plays was via the remix; on July 29, the last day of the tracking week, the share dropped to 59%.” Now, it appears that share has fallen even further, as DaBaby is no longer credited on the song as it appears on Billboard‘s airplay charts this week (dated August 14).
DaBaby’s credit has officially been removed from @DuaLipa‘s “Levitating” on Billboard airplay charts this week.
A similar credit change happened last year when Nicki Minaj was removed from the Hot 100 listing for Doja Cat’s “Say So.” At the time, Billboard explained, “After two weeks of Minaj showing as a featured artist on ‘Say So’ on the Hot 100 and other charts that utilize the same methodology, only Doja Cat is now listed, as the original version, without Minaj, is now driving the majority of overall activity for the song; the change does not affect any of Minaj’s achievements on those charts the past two weeks, and she continues not to be credited on the song on any airplay charts, as the vast majority of the song’s airplay is still for the original version.”
The DaBaby version of the song is still doing on other charts, though: On this week’s Hot 100, it rose from No. 4 to No. 3, just one spot away from its all-time peak.
Dua Lipa is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
Jennifer Lawrence hasn’t appeared in a movie since the most contractually obligated movie ever, Dark Phoenix, but that will change soon. She stars in Adam McKay’s asteroid comedy Don’t Look Up, along with Leonardo DiCaprio, Jonah Hill, Mark Rylance, Tyler Perry, Ron Perlman, Timothée Chalamet, Ariana Grande, Cate Blanchett, and Meryl Streep (in my professional opinion, pretty good cast), and she’ll also play agent Sue Mengers in a biopic directed by The Young Pope creator Paolo Sorrentino.
Variety reports that the still-untitled biopic has led to a bidding war between streaming services Apple and Netflix. “Bidding has reportedly eclipsed $80 million and there are some mutterings it has reached $95 million, which means a big payday for Lawrence [and] Sorrentino, one that they likely would not receive from studios interested in pesky things like, say, ticket sales,” it reads.
Lawrence reportedly had a $20 million salary for both Red Sparrow and Passengers, so a decent chunk of that $80-$95 million will presumably go to her bank account. (J-Law isn’t breaking the law — she’s breaking the bank… sorry.) Apple and Netflix can afford it for what Variety calls an “Oscar-baity film,” unlike indie distributor A24, which is working with Lawrence on another “secret” movie where she plays “an army soldier who returns home and struggles with PTSD” with Brian Tyree Henry and Samira Wiley.
Lawrence took three years off and now she’s making $20 million per movie and working with A24. Goals.
Just a few weeks out from releasing her new album, If I Can’t Have Love, I Want Power, Halsey has shared a few images of new parent life on social media, including photos of their three-week-old baby, Ender, who was born earlier last month. Also, Halsey shared a photo of Ender’s rainbow-colored nursery and a close-up shot of their postpartum belly, which is lined with stretch marks. “Well….this is what it look like,” they captioned.
Earlier in the summer, Halsey shared the now-viral cover art for the Trent Reznor- and Atticus Ross-produced album, which pictures a baby on their lap and an exposed breast:
“This album is a concept album about the joys and horrors of pregnancy and childbirth. It was very important to me that the cover art conveyed the sentiment of my journey over the past few months. The dichotomy of the Madonna and the Whore. The idea that me as a sexual being and my body as a vessel and gift to my child are two concepts that can co-exist peacefully and powerfully. My body has belonged to the world in many different ways the past few years, and this image is my means of reclaiming my autonomy and establishing my pride and strength as a life force for my human being.
This cover image celebrates pregnant and postpartum bodies as something beautiful, to be admired. We have a long way to go with eradicating the social stigma around bodies & breastfeeding. I hope this can be a step in the right direction!”
If I Can’t Have Love, I Want Power is out 8/27 via Capitol. Pre-order it here.
While the extremely short-lived streaming service Quibi might be long gone, several of its shows found new life — and success — this past May over on Roku’s free streaming channel. Now, Roku is going even more in on the short-form television series and bringing 23 additional Quibi shows to its streaming channel Friday, August 13, including four of which that were previously unseen.
According to Roku’s official blog post announcing the big news, the 23 shows include everything from “new alternative programming to suspenseful scripted shows and feature “some of Hollywood’s biggest names,” which seems pretty accurate based on the star-studded trailer above. Some of the new shows coming to Quibi include Elba vs. Block, which follows Idris Elba and Ken Block as they “go head-to-head to see who’s the best behind the driver’s seat,” Gone Mental with Lior, in which a trained mentalist attempts to read the thoughts of celebrities such as Zooey Deschanel, and Mapleworth Murders, a Murder She Wrote spoof that earned the cast three 2021 Emmy acting nominations.
Among the four new shows Roku is adding to its original line-up are the Josh Groban-hosted cooking competition series Eye Candy, as well as a ten-part docuseries called What Happens In Hollywood that “looks at how Hollywood has framed our ideas about sex and sexuality.” With the addition of these 23 series, this brings the total number of Quibi shows on Roku to 53, meaning the service still has 22 additional programs it purchased from the now defunct Quibi it could still bring over to its own channel. This all comes as an attempt to bolster Roku’s original content and appeal following the success of streaming services such as Disney+, Netflix, Hulu, and HBO Max, and seeing as how much the first wave of Quibi shows boosted Roku’s viewership, it could be a viable tactic. All these new shows hit Roku starting August 13.
The public battle between Bam Margera and Johnny Knoxville is showing no signs of easing up. On Monday, Margera filed a new lawsuit against Knoxville, Spike Jonze, and Paramount, which claims that Margera experienced “inhumane treatment” when he was fired from Jackass Forever because of his substance abuse issues.
According to the suit, Margera was fired after testing positive for Adderall, which violated a “wellness agreement” that he signed prior to Jackass Forever‘s production. Margera now claims that Knoxville and director Jeff Tremaine “coerced” him into signing the agreement while he was in rehab in 2019. By Margera’s own admission, he signed the agreement without running it by an attorney, and that opened him up to an experience that the suit likens to Britney Spears’ conservatorship. It’s a pretty bold claim. We’ll put it at that. Via Variety:
“Paramount’s inhumane treatment of Margera cannot be countenanced,” the suit states. “Margera was made to endure psychological torture in the form of a sham Wellness Agreement, and then ultimately terminated for his protected class status due to his medical condition, and his complaints about Defendants’ discriminatory conduct towards him.”
However, Margera’s lawsuit isn’t the only legal action surrounding the fourth Jackass film. Tremaine successfully scored a three-year restraining order against Margera after the Viva La Bam star repeatedly made open threats against Tremaine and his children. According to court records, Margera’s threats were documented via text message, which significantly aided Tremaine’s petition for protection.
Elysian Brewing screamed onto the craft beer scene just as the movement was getting its second wind. The 1980s had lead to the birth of modern craft beer with names like Sierra Nevada and Samuel Adams (among several others) hitting shelves around the country. But it was the mid-1990s when craft beer really took hold and microbreweries started popping up in major cities around the country, hitting grocery store shelves, and beer bar taps from coast to coast.
In 1996, a group of beer nerds got together in Seattle to take their love of beer from their home garages to the streets of the Emerald City and beyond. They created Elysian Brewing, which would quickly become the touchstone of Seattle craft brewing.
Then 25 years went by. And while a lot has changed in craft beer over those two-and-a-half decades, the core of what Elysian does (or any craft brewer does) has not changed. Elysian has always been about pushing that envelope and trying something new with each new brew session. That has led to plenty of misses because that’s sort of the point. It’s also led to a lot of wins.
Those wins are what we’re focusing on today as we taste through the 23 quintessential Elysian brews over the last 25 years. Below, I’m ranking 14 IPAs, three pale ales, two stouts, one Gose, one sour ale, one ESB, and one pumpkin ale on taste alone. Since that’s a lot of beer to rank, let’s get right into it!
This brew is made specifically to taste like a “wedding cake,” according to Elysian. The beer is made with a base of Great Western Premium 2-Row, Weyermann Bohemian Pilsner, and Weyermann Sauermalz malts supported by El Dorado, Citra, and Southern Passion hops.
Tasting Notes:
This tastes shockingly like one of those big sheet cakes you get at Costco. White frosting, blue frosting trim, sprinkles, vanilla white cake inside … it’s all there. The “beer” aspect of this is pretty fleeting and the end reads sweeter than anything else.
Bottom Line:
This was the 13th taste of the day and it just didn’t land. Birthday cake and beer are two different things for a reason. Maybe. I don’t know. I tried to imagine a beer-flavored birthday cake and it really killed the vibe of this sip for me.
This was brewed specifically to celebrate Elysian’s 25th anniversary. The brew is their classic IPA that’s dosed with Ethiopian coffee beans from Lighthouse Roasters in Seattle.
Tasting Notes:
There’s a nutty nature on this sip that’s enticing. The IPA hoppiness is more fruit-forward with a sour cherry taste and feel. The bitterness of the coffee hits but feels more like a spiked Irish coffee made with drip coffee than an IPA. Notes of citrus and sweet-cracker malts swirl on the finish but are overpowered by the drip coffee grounds.
Bottom Line:
This was another late taste, 20/23 (maybe that explains why I forgot to take a photo of this glass too?). But, I really wasn’t digging the wet coffee ground vibe at play. I think I just don’t really care much for beers that “taste” like something you don’t immediately associate with beer. Coffee works well with stout but an IPA is a different beast. I started thinking about cutting my next cup of coffee with a brassy IPA and was, again, turned off.
KEXP is a Seattle radio station with a storied history of supporting live music from the local scene throughout the last few decades. As KCMU back in the 1980s, the station was pivotal in putting local bands on the radio waves for the first time. For Elysian’s 25th anniversary, the station’s crew collaborated with the brewery to create a beer that captured the feel of alternative rock in Seattle in the 80s and 90s and the flavors that went along with it.
Tasting Notes:
This smells and tastes exactly like an orange creamsicle. You can almost taste the plastic wrapper and feel the cold wooden popsicle stick. It’s so damn close to that flavor profile. The issue is that I’m not getting much more.
Bottom Line:
I really like orange creamsicles. But there was something about this that was just missing that … something. It was a fine collab beer with a nostalgic flavor profile but that was about it.
This old-school German style is brewed for summer sipping. The beer is made with a base of Pale, Malted Wheat, and Acid malts bolstered by Huell Melon and Northern Brewer hops. The beer is then hit with real watermelon and kosher salt.
Tasting Notes:
This is a nice balance of sweet and savory. It’s light and certainly refreshing. The watermelon that comes through is more like a watermelon candy than fresh melon.
Bottom Line:
This is the lightest beer on the list and that really made it stand out. It just landed a little thin on the palate and that made it really hard to remember by the end of 23 sips of beer.
This beer has become an Elysian classic. The beer is brewed with Pale, Munich, C-45, and CaraHell malts next to a small selection of Glacier and Amarillo hops. The beer is then finished with dried jasmine flowers.
Tasting Notes:
There’s a distinct grassiness on the nose and on the palate. The IPA dankness is dialed back towards the potpourri tendencies of the taste. There’s a light haziness with a touch of citrus and resin underneath all of that jasmine.
Bottom Line:
This was the first taste of the day and read very grassy and floral and not much else. It was a little thin otherwise, which is strange as I really dig this off the tap.
This sour fruited ale is subtitled “The 13th beer of the apocalypse.” The brew is a sour ale that’s made with plenty of berries to take the edge off that sourness from the yeast.
Tasting Notes:
You really get a sense of funky yeast next to berry brambles. The sweetness of the dark berries is a nice counterpoint for the slightly funky sour ale beneath it. Beyond that, there’s a touch of citrus, wet hops, and a hint of red wine vinegar that lingers a bit longer than necessary.
Bottom Line:
This was nice for what it is. It’s not something I’d immediately reach for again, but I wouldn’t turn it down if handed to me at a party.
This is Elysian’s classic West Coast IPA that leans slightly towards fruit. The beer is brewed with a medley of Premium 2-row, Pilsner, Dextrapils, and Flaked Barley malts amped up with Galaxy, Hallertau Blanc, Mosaic, Hallertau Blanc, and Huell Melon hops.
Tasting Notes:
There’s a lot of fruit on this nose and in the taste. Orange oils, guava, mango, and pineapple all make appearances and temper the danker aspects of the resinous hops. The malts chime in late and carry a slight caramel maltiness but are really overshadowed by the fruitier hops.
Bottom Line:
This feels like a great bridge between the fruitier NEIPAs and the classic West Coast IPA. And that’s sort of where it falls down, it’s not clear on being either and gets a little muddled. It’s still a very quaffable brew though.
This “raw” IPA is brewed without bringing the mash to a “boiling temperature,” according to Elysian. The actual brew is an IPA mix of Premium 2-Row, Rolled Oats, Honey Malt, and Acidulated malts next to Nelson Sauvin, Strata, Sabro, and Chinook hops.
Tasting Notes:
This opens more liked a robustly hopped lager than an IPA. That malts and floral hops lead towards some citrus fruits and a good dose of dank pine resin. The malts kick in with a sweetness that turns the fruit into a hard candy vibe.
Bottom Line:
This really felt more like an overly hopped lager than an IPA, which is why it’s a little lower. However, it was pretty crushable with distinct (albeit sweet) flavor notes.
This West Coast IPA is brewed specifically to bridge the world of piney and fruity IPAs. The brewers start with Premium 2-Row, Rolled Oats, Crystal 15, White Wheat, and Acidulated malts and then layer in those hoppy notes with a mix of Mosaic, Cashmere, Southern Passion, and African Queen hops.
Tasting Notes:
This is tart as advertised. That tartness leans into the citrus oils and almost woody pineapple. As the taste settles, it gets juicier with those grassy and mildly resinous hops taking a backseat. The end amps up the tartness one last time, leaving you with a slight pucker on your lips.
Bottom Line:
This taste came at number 15/23. Again, it just felt a little listless. It was perfectly drinkable but it wasn’t a NEIPA or a West Coast IPA and felt a little muddled at the end of the day.
This is Elysian’s straight-up New England IPA. The brew is made with Pale Ale Malt, Flaked Barley, and Oat Malt with a supporting cast of El Dorado, Mosaic, Southern Passion, Sabro, Citra, and Sultana hops.
Tasting Notes:
You’re greeted with a noseful and then a mouthful of tart citrus fruits. That bright citrus gives way to darker and sweeter berries and savory guava. The end has this really specific note of passion fruit that sort of takes everything over.
Bottom Line:
This starts off strong but ends a little weak. That passion fruit really overwhelms and you lose the wonderful nuance this beer opens with.
This strong ale is brewed specifically to mimic that feeling you get after drinking a stiff, fruity, and sweet tiki cocktail on a hot beach. They do this by adding pineapple puree, brown sugar, toasted coconut, nutmeg, orange zest, and lactose to the brew, creating a very pina colada vibe.
Tasting Notes:
You get a nice dose of pineapple cake on the nose. The taste holds onto that fruit while adding in a really clear pina colada taste, feel, and finish. It’s a little rummy, a little coconut-y, and a little sweet.
Bottom Line:
This beat out a lot of the “flavored” ales on this list by being a little subtler on the landing. Yes, it tasted like a pina colada but that was a flavor note of the beer. You still have sweet malts and floral and fruity hops present to remind you that this is indeed a beer and not a birthday cake in a can.
This beer is brewed by adding the hops in early (between the wort and mash stage) to really amp up those hoppy notes deep in the beer’s foundations in a process called “First Wort Hopping.” Elysian’s brewers do this with classic Pacific Northwest hops, Chinook and Cascade.
Tasting Notes:
The hops shine through with a floral, almost grassy nature. Then the malts kick in with a clear honey candy sweetness under those dank hops. It’s a powerful counterpoint and works from the nose to the sweet yet resinous finish.
Bottom Line:
This is where things start to get very “splitting hairs” and subjective. For me, this was a really good IPA but not the best of the day, which is weird to say as I’d gladly drink this again anytime.
This brew is a classic Northwest pale ale brewed with Pale, Munich, and DextraPils malts. The beer is then hopped with German Northern Brewer, Cascade, Citra, and Amarillo hops before orange peels and blood orange flesh goes into the pot.
Tasting Notes:
Orange, orange, orange! This opens with a slightly bitter orange pith that leads towards an orange blossom hoppiness. The end sweetens thanks to all those malts but stays in the orange lane by becoming more like an orange cake with orange frosting.
Bottom Line:
Finally, a pale ale! This edges up on the list by the virtue of being bold and distinct. The orange vibe builds as you sip the beer. It actually goes somewhere. It’s also amazingly refreshing. Or maybe I was just really happy to be done with this tasting as this was taste 23/23.
Redhook ESB was one of those ales that helped launch the craft beer movement in Seattle back in 1981. So this beer style (Extra Special Bitter) is a seminal beer for both the Pacific Northwest and Elysian brewing. The hoppy, old-school brew is made with a foundation of Pale, Munich, C77, CaraHell, and Belgian Special B malts supported by Chinook, Cascade, and Centennial hops.
Tasting Notes:
You get a mix of floral and dank hops with a grassy edge next to sweet brown bread malts, caramel cookies, and honey candies. The danker aspects of the hops drawback, leaving you with a slightly bitter edge to counterpoint the hefty and sweetened malts that make the backbone of this ale.
Bottom Line:
This is a very easy sipping beer. It also feels like it’s from a different era and poised for a comeback. It’s really hard to find faults with this one.
This American imperial stout is Elysian’s classic stout that’s aged in used whiskey barrels. The whiskey and the nuttier notes of the stout blend nicely into this now discontinued throwback.
Tasting Notes:
This is a whiskey stout through and through and makes sense. There’s a clear sense of almond cake, dark chocolate malts, mild cherry, and honey candy that goes hand-in-hand with the note of woody whiskey on the palate.
Bottom Line:
This probably ranks higher simply by standing out so defiantly from the IPAs on the list. That aside, this really does hit well for a whiskey-barrel-aged stout. It’s complex without being annoying. It’s easy to drink while still having depth. It delivers on what’s promised on the can. You can’t beat any of that.
This imperial IPA is an ode to hazy fruit bomb ales. The beer is brewed with 2-Row, Malted Wheat, and Unmalted Wheat. That’s then hopped with Centennial, Simcoe, and Strata hops with “more” unnamed hops.
Tasting Notes:
This is deliciously fruity with ripe and juicy peaches leading the way. Then the taste turns abruptly to cream soda — cold, refreshing, and vanilla-forward. The bright citrus oils lighten the mood as a savory fruit note arrives late, cutting through the sweetness of the cream soda.
Bottom Line:
This ranked pretty high thanks to the clear and unique notes. That peach and cream soda really sing together. I’d absolutely drink this again.
This pale ale is technically a smoked brew. The malts are rye and smoked wheat next to local Chinook, Cascade, and Amarillo hops. The result is another beer that truly stands out.
Tasting Notes:
This marries a stone-cold classic pale ale with a very mild smoked lager. The malts lean into an almost salted caramel feel with a floral yet refined hoppiness. Those smoked wheat malts bring about an almost burnt hay note that’s more like straw on a hot summer day than burned to ash.
Bottom Line:
This was interesting, refreshing, and classic. Those are all hard aspects to pull off in a beer. In the end, this was another beer I went back to after the tasting was over.
This is Elysian’s love letter to the classic English style of ale. The brew is made with Pale, Munich, Crystal, and CaraHell malts next to Chinook and Amarillo.
Tasting Notes:
This felt like a time machine back to another era in craft beer. The taste was light with floral and dank hops next to semi-sweet caramel malts. The hops build towards a cannabis-infused dankness as the malts remain boldly sweet and bready.
Bottom Line:
This went down very easily. It was the second taste of the day but stood out through 21 more tastes as something I wanted more of.
This pumpkin ale adheres to the hard and fast rules of the style: Add a lot of fresh pumpkin and spices to create a fall beer. Pale, Munich, CaraHell, C-20, C-45, and Special B malts and Magnum hops form the foundations of the beer before 150 pounds of fresh and roasted pumpkin along with green and roasted pumpkin seeds and ginger, cinnamon, nutmeg, clove, and allspice are added to each batch.
Tasting Notes:
You get a sense of real pumpkin from the nose through the finish. Imagine slicing up a whole pumpkin and you’ll be on the right track. There’s a matrix of pumpkin pie spices in the base of the taste but it’s not the focus of the beer. There’s a nice bitterness thanks to those pumpkin seeds and the beer touches on a buttery pie crust.
Bottom Line:
This isn’t just any ol’ storebought pumpkin pie in beer form. This is more like your favorite grandparent’s pumpkin pie that you only got once a year but you knew was made from scratch. And it just somehow works wonders in this beer. Even in the middle of summer, this was refreshing, bold, and hit the spot.
This deep and dark imperial oat stout starts off with some hardcore malts. Pale, Munich, C-77, Chocolate, Roasted Barley, and Roasted Oats malts are all used in the base. The brew is then hopped with Magnum, Cascade, and Centennial hops but they’re really only there to support those hefty malts.
Tasting Notes:
There’s a clear sense of almond (almost marzipan) next to dark cacao powder, almost oily espresso beans, and a hint of warm sweet brown bread. The body of the beer is dense but doesn’t overwhelm your palate. By the end, you’re left with silky dark chocolate that’s been spiked with espresso next to a soft oatmeal cookie with no raisins.
Bottom Line:
Again, this might have ranked higher simply because it’s not an IPA. Still, this was a black ray of sunshine on a very hoppy day. This is a very crushable stout at a very dangerous ABV.
This beer is another collab that celebrates Seattle’s music scene in beer form. The brew was made with the folks over at SubPop Records to commemorate that label’s impact on music in general. The classic pale was brewed with Pale, Munich, Crystal, and CaraHell malts and supported by Sorachi Ace and Crystal hops.
Tasting Notes:
This is classic from the nose to the taste with hints of grassy hops next to caramel malts. That hoppiness gets a little crispy and fruity as a hint of pineapple juice sneaks in to counter the drier edges of the hops. The malts stay solidly in the sweetened bread or cracker territory while providing a solid foundation for the hops to shine.
Bottom Line:
This takes me straight back to the late 1990s and tasting craft-brewed pale ales for the first time. This fell at taste 11/23, or about halfway, yet it still stayed clear in my memory to the end and was a beer I actually drank when I finished this.
Space Dust has become Elysian signature brew. The West Coast IPA balances Pale, C-15, and DextraPils malts against Chinook, Citra, and Amarillo hops to create a modern classic.
Tasting Notes:
There’s a clear sense of grassy, resinous, and mildly floral hops from the nose to the finish. The malts come into play around the mid-palate and lean into salted caramel and maybe a touch of fresh honey. The hops take on a slightly juicy edge late with bitter grapefruit pith, orange oils, and a tiny note of mango.
Bottom Line:
This is IPA through and through. It’s so damned refined and just … crushable. I finished this can after the tasting was over as well.
This American IPA is all about that Northwest vibe. The brew is made with locally grown malts and hops with Pale, Munich, and Crystal malts alongside Chinook, Centennial, and fresh and whole Cascade hops.
Tasting Notes:
This draws you in with a balance of honey-candy maltiness next to a rush of dried rose and fruity hops — think orange peels, star fruit, and papaya. The body of the sip really leans into the dank resin and orange peels with an oily bitter edge. The resin dries out towards a rosy pine as the malts create an orange-infused sweet loaf filled with walnuts on the base.
Bottom Line:
This was a beautiful sip of beer. It’s complex without being annoying. It’s got some serious depth but it all makes sense, builds, and crescendos on your palate. This was the beer I wanted more of immediately even though it was taste number 19/23. It woke me up and got my head back in the game for the rest of the tasting. And you can rest assured, I finished this beer after the tasting was over.
As a Drizly affiliate, Uproxx may receive commission pursuant to some entries on this list.
The No. 1 spot on the Billboard Hot 100 chart has been all BTS lately, as either “Butter” or “Permission To Dance” have held the top spot for the past couple months. Now, though, there’s some fresh blood at No. 1: On the Hot 100 chart dated August 14, The Kid Laroi and Justin Bieber’s “Stay” is No. 1 for the first time. This is Laroi’s first No. 1 single.
With this latest chart-topper, both Bieber and Laroi have made music history for their respective countries. This is Bieber’s eighth No. 1, which is tied for the most all-time among Canadian artists, with Drake. It’s also his second No. 1 song of 2021, following his Daniel Caesar- and Giveon-featuring “Peaches.” As for Laroi, “Stay” is the first song by an Australian-born solo male artist to top the Hot 100 in 40 years, since Rick Springfield’s “Jessie’s Girl.” He’s also the first Australian-born artist to top the Hot 100 since Sia, who was No. 1 for four weeks in August 2016 with the Sean Paul-featuring “Cheap Thrills.”
Elsewhere, Lil Nas X has two songs in the top 10, “Industry Baby” and “Montero (Call Me By Your Name).” Reflecting today on achieving the same feat but on the Spotify global chart, Nas tweeted, “this is so crazy to think about. 2 songs in the top 10 of the world. i am so f*ckin blessed. i love u guys sooo much. i take none of this for granted. can’t wait to share my album with you.”
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